There are people with a lot of prejudice, a lot of fear of the unknown. They think that immigration is a danger, when really it is a solution. This is an interesting issue, because it will be a central question of our time.

That is one thing I am sure of amid my many uncertainties regarding the literary vocation: deep inside, a writer feels that writing is the best thing that ever happened to him, or could ever happen to him, because as far as he is concerned, writing is the best possible way of life, never mind the social, political, or financial rewards of what he might achieve through it.

Men do not live by truth alone; they also need lies: those that they invent freely, not those that are imposed on them; those that appear as they are, not smuggled in beneath the clothes of history. Fiction enriches their existence, completes them and, fleetingly, compensates them for this tragic condition which is our lot: always to desire and dream more than we can actually achieve.

In general, I think my freedom of invention is not limited when I use historical characters.

The writer’s job is to write with rigor, with commitment, to defend what they believe with all the talent they have. I think that’s part of the moral obligation of a writer, which cannot be only purely artistic. I think a writer has some kind of responsibility at least to participate in the civic debate. I think literature is impoverished, if it becomes cut from the main agenda of people, of society, of life.

When I was young, when I started to write, we were totally convinced that literature was a kind of weapon.

I always write a draft version of the novel in which I try to develop, not the story, not the plot, but the possibilities of the plot. I write without thinking much, trying to overcome all kinds of self-criticism, without stopping, without giving any consideration to the style or structure of the novel, only putting down on paper everything that can be used as raw material, very crude material for later development in the story.